Zygmunt Noskowski – the forgotten polish piano music for four hands
Journal Title: Notes Muzyczny - Year 2017, Vol 2, Issue 8
Abstract
Piano compositions for four hands by Zygmunt Noskowski (1846–1909) certainly belong the forgotten treasures of the Romantic Polish chamber pieces. Compared to the enormous creative output of that extraordinary man – a composer, pianist, violinist, conductor, teacher, music columnist, social activist and animator of music life – piano duo pieces soaked with Polish borderland folklore are merely a small part of his oeuvre and in a special way they fit into the trend of home and ballroom music making which was popular in the 19th century. Their most important value, however, both for the composer’s contemporaries and for modern-day performers and audiences, is a clear and readable national element revealing itself in the use of national folklore components adding a special meaning to these compositions. A question arises: was the folklore itself the pure inspiration for the composer to write pieces for chamber and home music making, or were its elements the natural material constituting his own musical language? The article is an attempt to answer these questions, and the piano pieces for four hands by Z. Noskowski presented in it have been analysed and discussed in the context of how the features of dance and vocal folk forms were used. The pieces are: two booklets of Cracoviennes op. 7 for piano for four hands written in 1879 ordered by H. Erler, a publisher from Berlin, and dedicated to Baron Alexander von Herder, two works for piano for four hands published by Heinauer as A Hut beyond the Village: Zigeunertanz (Gypsy Dance) and Ukrainischer Tanz (Round Dance) op. 16 of 1884, Highlander Fantasy op. 17 written in 1885, piano version for four hands of Morskie Oko, Concert Overture for Orchestra op. 19 written in 1875, Cracoviennes op. 25 which can be found in two collections of piano compositions for two and for four hands published simultaneously in 1889, Polish Suite op. 28 written ca. 1880 and dedicated to Stanisław Ciechomski, Mélodies Ruthéniennes op. 33 written ca. 1890, the cycle of six Mazurs op. 38 of 1890, six Polonaises op. 42 written in 1891 and the last one, unpublished cycle of 7 pieces known as Dances exotiques op. 47 written in 1900. The article is aimed at showing the great importance of national music roots for Noskowski’s music imagination and composition; these roots served as a basis thanks to which he implemented his great idea of continuing the work of Moniuszko, preserving national elements and passing on the cultural heritage to next generations, and also creating Polish music style based on emotional message without empty virtuosity or showing off. With folklore elements, he created his own original musical language and used it both for piano and symphony compositions. The knowledge of folk and historical references is extremely helpful while working on the interpretation of these pieces. As a comprehensively educated man in terms of composition skills, Noskowski was recognised for his achievements during his lifetime. As a social activist and resilient organiser of cultural life, he made invaluable contribution into the activity of national institutions existing to this day, such as: Warsaw Music Society, National Theatre and Opera, or National Philharmonic in Warsaw, despite the fact that when he was alive Poland was not there on the map of Europe. Even though in that time Polish score publishers did not exist either, the power of his personality and ideas was so great that prominent European composers recommended his works to Western publishers, thanks to which we can access, get to know and promote them today. Unfortunately, his music, which in the time of the partitions of Poland performed a primarily social function, belongs to the past just like the partitions, has been forgotten, lost its practical role, and its strongly national qualities in peacetime do not have such a fundamental and significant meaning anymore. Therefore, it speaks to us with the charm of old and forgotten, yet still dear and kind language, not with universal and timeless values of art. In spite of it, that world of feelings and expression encompassed in chamber piano pieces is worth learning about because it is a type of a documentary record of aesthetics, sensitivity to beauty, social needs and culture of that period.<br/><br/>
Authors and Affiliations
Anna Liszewska
Keywords
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